4/24/2023 0 Comments Album ds smarty fill not workingI don’t believe that there is any specific recipe to which I adhere.īecause, often, the need to create a new typeface arises in the context of the commission of a graphic design creation, it is in this back and forth between graphic language and type design that I feel most at ease. How do you begin work on a new typeface? Do you have a particular process? The possibility of being able to create a typeface relatively rapidly has changed its economy, and it is not rare to be in a position to create a customized font for a small scale graphic design project, whereas in the past this would have been quite an unrealistic endeavor. What’s more, the democratization of tools for creating typefaces leads new people – with different points of view – to tackle this design exercise. I am convinced that this is the case, as developments in technology and new uses of reading allow new needs to emerge. Is it really possible to create something new in the field of typeface design? It is through the assertion of these relationships that, little by little, I manage to define my different designs. My attention is not necessarily focused on the design of a style, but more-so on the relationships that exist, and on the tensions that emerge from the confrontation of the latter within the same layout. In other cases, my Type Design projects begin with a concept for a family of typefaces. As each project has a quite particular context, this naturally leads me to quite specific typographic forms. Most of the time, I begin to design a typeface in the context of a Graphic Design project that I’m working on, where I haven’t been able to find what I’m looking for in existing type families. In your opinion, what is the point of creating a new typeface when so many already exist? Karl Nawrot’s various experiments to do with the creation of normographs or the generative project Sign-generator by studio Norm are notable examples of this. Among the punch-cutters for whom I have a real admiration, I could mention Jacques-François Rosart, Philippe Grandjean, Joann Michael Fleischman and Pierre-Simon Fournier the younger.Īs a graphic designer, I am also interested in more experimental projects which question the limits of the typographic sign by subjecting them to systems of construction. I appreciate the typographic color of these transitional designs that I find to be very particular. On the other hand, I have a real admiration for all of the typographic creations of the 18th century. Kai Bernau’s Neutral or Kris Sowersby’s Untitled highlight precisely one of the paradoxes of Typeface Design: the creation of a new form which appears to be “transparent”. On one hand, I would say that I am attracted to projects which question the objectivity of the typographic form. What influences you? Are there typeface designers whose work you appreciate in particular? After that I chose to specialize in Typeface Design and decided to pursue my training at the École supérieure d’art et de design of Amiens and then in the Atelier national de recherche typographique (ANRT). Initially, I studied Graphic Design at the École supérieure d’arts appliqués of Bourgogne, and then at the École européenne supérieure d’art of Brittany. How did you get involved with typeface design? What led you to this practice?
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